The show runs from November 17, 2012 - January 5, 2013.
I'll be in attendance for the opening reception, on Saturday, November 17 from 5 - 8pm.
November 13, 2012
Recent Paintings / George Billis Gallery LA
For years now, I've been asked several times if I'm showing my work in Los Angeles. Finally, I'm excited to announce my first solo exhibition at the George Billis Gallery LA, in Culver City (you can find the gallery here).
October 25, 2012
Work in Progress
My next solo exhibition is at the George Billis Gallery in Los Angeles. I've been working through the summer and fall on twelve paintings for the show. Nothing is more satisfying than reaching the end of the final piece.
Here are some in-progress images of a few of the pieces I'll have in the show. More details as we get closer to the opening of the show, which starts on November 17 and runs through January 5, 2013.
Here are some in-progress images of a few of the pieces I'll have in the show. More details as we get closer to the opening of the show, which starts on November 17 and runs through January 5, 2013.
October 19, 2012
Bakersfield Museum of Art / Fall Exhibits
Vikki Cruz, the curator at the Bakersfield Museum of Art, and her assistant Claire Putney share some thoughts on the Fall 2012 exhibitions.
October 5, 2012
The Still Life Group Show / Elliott Fouts Gallery
The Elliott Fouts Gallery in Sacramento, California, is hosting an invitational group exhibition featuring eleven artists, including myself.
The show runs from October 6 - November 1, 2012 and features paintings of contemporary still life. I have six paintings in the exhibition.
Click on any image for more information.
The show runs from October 6 - November 1, 2012 and features paintings of contemporary still life. I have six paintings in the exhibition.
Click on any image for more information.
The exhibition is featured in the October 2012 American Art Collector magazine.
September 11, 2012
New Realism / Bakersfield Museum of Art
It is an honor and a privilege to announce my solo exhibition, New Realism, at the Bakersfield Museum of Art, on display from September 13 - November 25, 2012.
The show features fourteen of my book themed paintings, a subject I have worked with for the past several years.
I have slowly refined the way I use books in my paintings. What were once simple props, I started paying closer attention to the actual books. Vintage primary readers are particularly interesting. With overtly optimistic and naive titles, they are a great example of the way our culture idealizes our recent history. Contrasted with early phsycoanalytical books or heavy psychology and ethics texts from the early 20th century and you have an interesting juxtaposition.
At the same time, the simple rectangular shapes, the colors and textures of the spines and pages make for endless possibilities for me as a painter to explore. The organized and tidy stack of vintage and antique books have small details in torn edges, fraying covers, dented spines, discolored pages. A jumbled pile of books, a line of books precariously leaning on one another. All set on softly lit neutral grounds and a clean white shelf.
I like the universality that books as objects present. They are symbolic. They are our combined and collected knowledge printed for posterity, all on decaying paper. We fret over losing the art of reading, the genuine experience and pleasure of a book as we invent and perfect new ways to consume the written word. iPads, Kindles, smartphones — ebooks, they are becoming commonplace and cheaper by the day. I think that as long as someone is writing something worth reading, it doesn't really matter how you take it in.
And as long as second-hand book stores and antique shops have multitudes of books to offer, I doubt I'll ever run out of ideas that I can transform in to paintings.
The show features fourteen of my book themed paintings, a subject I have worked with for the past several years.
I have slowly refined the way I use books in my paintings. What were once simple props, I started paying closer attention to the actual books. Vintage primary readers are particularly interesting. With overtly optimistic and naive titles, they are a great example of the way our culture idealizes our recent history. Contrasted with early phsycoanalytical books or heavy psychology and ethics texts from the early 20th century and you have an interesting juxtaposition.
At the same time, the simple rectangular shapes, the colors and textures of the spines and pages make for endless possibilities for me as a painter to explore. The organized and tidy stack of vintage and antique books have small details in torn edges, fraying covers, dented spines, discolored pages. A jumbled pile of books, a line of books precariously leaning on one another. All set on softly lit neutral grounds and a clean white shelf.
I like the universality that books as objects present. They are symbolic. They are our combined and collected knowledge printed for posterity, all on decaying paper. We fret over losing the art of reading, the genuine experience and pleasure of a book as we invent and perfect new ways to consume the written word. iPads, Kindles, smartphones — ebooks, they are becoming commonplace and cheaper by the day. I think that as long as someone is writing something worth reading, it doesn't really matter how you take it in.
And as long as second-hand book stores and antique shops have multitudes of books to offer, I doubt I'll ever run out of ideas that I can transform in to paintings.
The exhibition features five new paintings (above)
and nine on loan from collectors (below)
(click here for more information on the new paintings)
August 19, 2012
American Arts Quarterly, Summer 2012
I had the opportunity to share my working process, ideas and inspiration with American Arts Quarterly magazine, who reviewed my June 2012 exhibition at the Elliott Fouts Gallery.
I think it is a good review, and provides a clear understanding of my work.
You can read the review here.
August 12, 2012
Still Life: The Painted Image
The Washington County Museum of Fine Art, in conjunction with the George Billis Gallery NY, is exhibiting a group show of contemporary still life paintings from August 2012 through January 2013.
I am honoured to have three paintings included in the exhibition. You can read a feature article about the exhibition here.
I am honoured to have three paintings included in the exhibition. You can read a feature article about the exhibition here.
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The Italian
20" x 32" / Oil/Canvas / 2012
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Remington
20" x 32" / Oil/Canvas / 2012
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5:00, 4:00, 3:00, 2:00, 1:00
18" x 36" / Oil/Canvas / 2012
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An Artist Retreat
I'm a studio painter. I used to do plein air style work, as a student. I tried all sorts of different ways of working, different materials, different mediums. But slowly over time I developed a process and subject that work well for me. One that suits my personality. I think every painter or artist eventually finds a way of working that suits their personality.
So when the time comes to travel, I usually start to get anxious about leaving my work place.
So it took much thought and preparation when my family was presented with the opportunity to live for a month in a country home, far from the city, far from my studio. It's something my wife and children were really looking forward to doing. Spending time with animals and deeply immersed in a quiet sanctuary on our own.
The place we were staying provided a studio space for me, and I'm so grateful they took the time to figure out how to make it work for me. So I was able to pack up my space and work the way I'm used to. With several exhibitions coming up this fall, there was no option to take time off painting. I need to keep going and follow the momentum of my work.
The experience we had over the month of being away is something that will stick with every single one of us for the rest of our lives.
So in the end, we all got something out of our time away. Every day we walked out in to the hills and were mesmerized by our surroundings. We found out about what has been missing from our lives, and now see things we have been taking for granted. And now we will add a little of what's missing, and appreciate the things we have a little more.
So when the time comes to travel, I usually start to get anxious about leaving my work place.
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| A secluded artist retreat. |
The place we were staying provided a studio space for me, and I'm so grateful they took the time to figure out how to make it work for me. So I was able to pack up my space and work the way I'm used to. With several exhibitions coming up this fall, there was no option to take time off painting. I need to keep going and follow the momentum of my work.
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| Every day, the landscape took us by surprise. |
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| My children spending time with animals that were once intimidating. |
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| Time with animals makes you feel more human and more alive. |
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| Without any exaggeration, the most stunning sky you can imagine. |
So in the end, we all got something out of our time away. Every day we walked out in to the hills and were mesmerized by our surroundings. We found out about what has been missing from our lives, and now see things we have been taking for granted. And now we will add a little of what's missing, and appreciate the things we have a little more.
June 24, 2012
Silhouettes
These two paintings are all about the negative space and the silhouettes they create. The square canvas, deep black rectangular body to the right, and the triangular shape of the bellows with its repetitive lines make it a simple yet bold composition.
The candle stick phones do the same thing, but along with the movement cords there is a subtle hint of color — a patina on the phones metallic parts that bring it just barely out of the monochromatic tones. The phones also have such a strong character. My wife says they almost seem penguin-like with their stance and beaks turned in opposing directions.
As subjects, they're like an homage to the roots of our technology that is common place to us now. We obsess over our smartphones and seem to forget how breakthroughs in photography and telecommunications have been going on for 100+ years. Right at the very foundation of it all, nothing has changed. All this stuff is about connecting and sharing. It always has been.
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Antique German Camera
24" x 24" | Oil/Canvas | 2012
Sold
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| Antique Candle Stick Phones 24" x 24" | Oil/Canvas | 2012 Sold |
June 22, 2012
Oliver Profile
If I had to pick a favourite out of the 22 paintings I made for the June 2012 exhibition at the Elliott Fouts Gallery, I'd have to consider Oliver Profile. It's something I did for the pure enjoyment of getting lost in all the details.
On first glance, not many people would know what it is. It stands out, being almost unrecognizable as a typewriter (I assure you, it is one) with it's unique wing-like design.
I found this typewriter in an old-tech "graveyard" of sorts. Hidden in the back of an ancient town hall in the middle of the prairie, sits a dark room bursting with adding machines, typewriters and copy machines. And on a low shelf in a corner I found this typewriter, where it sat for decades, unnoticed with its cover firmly in place. It was completely abandoned by time and technology advances.
I marvel at the intricate mechanics. The engineering prowess it took to piece together such a complicated machine simply intrigues me.
I chose to look at the typewriter from a different angle — a dead-on side profile. The negative space the profile of the typewriter creates, the contrast of the heavy, solid, deep green body and the myriad of dials, gears, knobs, levers, bolts — it was such a pleasure to paint. And through painting, I think the object goes through an organic metamorphosis. After some time, I finally figured it out — this typewriter was basically a functioning piece of steampunk art. That's why I love it.
On first glance, not many people would know what it is. It stands out, being almost unrecognizable as a typewriter (I assure you, it is one) with it's unique wing-like design.
I found this typewriter in an old-tech "graveyard" of sorts. Hidden in the back of an ancient town hall in the middle of the prairie, sits a dark room bursting with adding machines, typewriters and copy machines. And on a low shelf in a corner I found this typewriter, where it sat for decades, unnoticed with its cover firmly in place. It was completely abandoned by time and technology advances.
I marvel at the intricate mechanics. The engineering prowess it took to piece together such a complicated machine simply intrigues me.
I chose to look at the typewriter from a different angle — a dead-on side profile. The negative space the profile of the typewriter creates, the contrast of the heavy, solid, deep green body and the myriad of dials, gears, knobs, levers, bolts — it was such a pleasure to paint. And through painting, I think the object goes through an organic metamorphosis. After some time, I finally figured it out — this typewriter was basically a functioning piece of steampunk art. That's why I love it.
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| Oliver Profile 20" x 30" | Oil/Canvas | 2012 Sold |
June 16, 2012
It Went Well
The grand opening reception of the new location of the Elliott Fouts Gallery was something you had to see to appreciate. To say it was a full house is an understatement. The place was packed, shoulder to shoulder. I think the people of Sacramento are enjoying the new gallery, as they should.
By the end of the evening, 18 of the 22 paintings I have in the exhibition were sold. I wasn't expecting that kind of a response to my work, and I think any artist would tell you that such an event is remarkably validating. I think I'll keep doing what I do.
After four consecutive years of exhibitions in Sacramento, the best part is seeing familiar faces at the gallery. The Sunday following the reception, Kerrie Kelly and Vinny Catalano hosted a brunch so I could meet some more collectors. I was completely honoured by their hospitality. Every single conversation I had was enlightening and enjoyable.
Many thanks to the fine people at the gallery — Elliott Fouts, Michelle Satterlee, Cynthia Lou and Sherry Ngai. It's a privilege to work with them!
By the end of the evening, 18 of the 22 paintings I have in the exhibition were sold. I wasn't expecting that kind of a response to my work, and I think any artist would tell you that such an event is remarkably validating. I think I'll keep doing what I do.
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| A quiet view of the exhibition |
After four consecutive years of exhibitions in Sacramento, the best part is seeing familiar faces at the gallery. The Sunday following the reception, Kerrie Kelly and Vinny Catalano hosted a brunch so I could meet some more collectors. I was completely honoured by their hospitality. Every single conversation I had was enlightening and enjoyable.
Many thanks to the fine people at the gallery — Elliott Fouts, Michelle Satterlee, Cynthia Lou and Sherry Ngai. It's a privilege to work with them!
June 7, 2012
New Paintings / 2012 / Catalog
The catalog for my 2012 solo exhibition is available through the Elliott Fouts Gallery. As per usual, Michelle Satterlee has done a fantastic job with the layout and design. The catalog is $11.70 including shipping for residents of the USA. Please email the gallery for details.
June 1, 2012
May 30, 2012
American Art Collector, June 2012
My exhibition at the Elliott Fouts Gallery is featured in the June 2012 issue of American Art Collector magazine.
You can read the interview here (it's a 3.7mb pdf file).
You can read the interview here (it's a 3.7mb pdf file).
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Clear Thinking
42" x 32" | Oil/Canvas | 2012
Sold
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| Antique Candle Stick Phones 24" x 24" | Oil/Canvas | 2012 Sold |
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| Back to Back 24" x 30" | Oil/Canvas | 2012 Sold |
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The Vanishing American
24" x 24" | Oil/Canvas | 2012
Sold
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May 21, 2012
Ad in American Art Collector (June 2012)
Check out this ad designed by Michelle Satterlee, gallery director at the Elliott Fouts Gallery. I think it was exactly a year ago that I mentioned that I appreciate her design skills. This ad is featured in the June 2012 issue of American Art Collector magazine.
I'll share the article in the coming week, along with more info on the show.
I'll share the article in the coming week, along with more info on the show.
May 2, 2012
Upcoming Exhibitions
Here is another round of progress photos of a few paintings I've been working on and some details on upcoming shows.
20+ new paintings will be exhibiting at the Elliott Fouts Gallery in Sacramento, California for the month of June. I'll be sharing the completed paintings in a few short weeks.
After that I'll have 3 paintings in a group exhibition at the Washington County Museum of Fine Art, starting in August.
In September I have an exhibition of several of my book paintings at the Bakersfield Museum of Art.
And finally, in late November I'll have another solo exhibition in Los Angeles. I'll share more details about these shows as they near. In the meantime, I've got my work cut out for me.
February 26, 2012
Some recent progress photos...
I'd like to share some recent progress photos.
I've been in the studio every single day for the last 2 months, working on numerous paintings. My exhibition schedule this year is busy, to say the least. I am participating in four exhibitions, three of which are solo shows.
The first solo will be my fourth annual June exhibition at the Elliott Fouts Gallery in Sacramento, California. I'm proud (and a little astonished) to say I'm working on painting number 15 of the 20 that will be in that show.
I'll share more info about the other three exhibitions in the coming months. But first I have to focus completely on painting.
So in the meantime, I'm going to disappear from the world of social media again and stick my nose back up to the easel.
I'm starting to wonder if my neighbors are aware that I rarely leave the house.
If it wasn't for my wife, I'd have no social life at all.
I've been in the studio every single day for the last 2 months, working on numerous paintings. My exhibition schedule this year is busy, to say the least. I am participating in four exhibitions, three of which are solo shows.
The first solo will be my fourth annual June exhibition at the Elliott Fouts Gallery in Sacramento, California. I'm proud (and a little astonished) to say I'm working on painting number 15 of the 20 that will be in that show.
I'll share more info about the other three exhibitions in the coming months. But first I have to focus completely on painting.
I'm starting to wonder if my neighbors are aware that I rarely leave the house.
If it wasn't for my wife, I'd have no social life at all.
January 1, 2012
Group Show - George Billis Gallery, LA
Happy New Year!
I'm starting the year participating in a group show at the George Billis Gallery in Los Angeles from January 7 - February 11, 2012.
Find the gallery — click here for a map. If you are in the LA area, please check out the gallery and paintings.
I am showing five new paintings featuring books. The two paintings above depict 17th and 18th century historical essay and natural history texts. Below are primary school texts from the 1950s, 60s and 70s.
I'm starting the year participating in a group show at the George Billis Gallery in Los Angeles from January 7 - February 11, 2012.
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Antique Books I
30" x 30" | Oil/Canvas | 2011
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Antique Books II
30" x 30" | Oil/Canvas | 2011
Sold
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Find the gallery — click here for a map. If you are in the LA area, please check out the gallery and paintings.
I am showing five new paintings featuring books. The two paintings above depict 17th and 18th century historical essay and natural history texts. Below are primary school texts from the 1950s, 60s and 70s.
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Equality, The World of Today
18" x 36" | Oil/Canvas | 2011
Sold
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Brave and Bold, The Early Modern World
18" x 36" | Oil/Canvas | 2011
Sold
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Anything Can Happen, Down The Road
30" x 30" | Oil/Canvas | 2011
Sold
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